2005 Fall Choral Concert
Chamber Singers
Welborn E. Young, conductor
Women’s Glee Club
Laura Moore, conductor
University Chorale
William P. Carroll, conductor
Women’s Choir
Christina Elkins, conductor
Men’s Glee Club
Michael Dougherty, conductor
Sunday, October 30, 2005
3:30 pm
Aycock Auditorium
Program
Madrigali: Six “Fire Songs” on Italian Renaissance Poems Morten Lauridsen
1. Ov’è, lass´, il bel viso (b. 1943)
2. Quando son più lontan
3. Amor, io sento l’alma
6. Se per havervi, oime
Chamber Singers
Túrót ëszik a cigány Zoltán Kodály
(1882-1967)
Arboreal Ardor Em McKeever
(b. 1986)
Confitemini Domini Alessandro Costantini
(1581-1657)
Les Chansons des Roses Morten Lauridsen
Dirait-on (b. 1943)
Ain’-A That Good News! arr. William Dawson
(1899-1990)
Women’s Glee Club
Songs of War and Peace Judith Shatin
And How My Brother is Cain (b. 1949)
Kyrie in D Johann Christian Bach
(1735-1782)
soloists
Winnona Borowski, Emily Caudle, Logan Haggard, Tim Cook, Katie Brotherton
In Remembrance Jeffrey L. Ames
Greg Stout, piano Sarah Lloyd, clarinet
My Soul’s Been Anchored in the Lord arr. Bruce Trinkley
(b. 1945)
University Chorale
Three Sacred Choruses Johannes Brahms
Regina Coeli (1833-1897)
soloists
Meghan Dunham, Alyson Lordahl, Emily Caudle, Ellen Swanson
Ave Maria David MacIntyre
(b. 1952)
Esto Les Digo Kinley Lange
(b. 1950)
Jessica Glime, soprano
Chindia Alexandru Paşcanu
(1920-1989)
Women’s Choir
Psalm 150 arr. Michael Dougherty
(b. 1971)
Ride The Chariot arr. William Henry Smith
David Blalock, baritone
Jonathan Blalock, conductor
A’Roving arr. Robert Shaw and Alice Parker
(1916-1999) (b. 1925)
Patrick Darab, tenor
Justin Fuller and Lucas Ray, guitar
Ka Hia Manu arr. Stephen Hatfield
Men’s Glee Club
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The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
PROGRAM NOTES
Madrigali: Six “Fire Songs” on Italian Renaissance Poems Morten Lauridsen
Ov’è, lass’, il bel viso?
Ov’è, lass’, il bel viso? ecco, ei s’asconde.
Oimè, dov’il mio sol? Lasso, che velo
S’è post’inanti et rend’oscur’il cielo?
Oimè ch’io il chiamo et veggio; eì non
risponde.
Dhe se mai sieno a tue vele seconde
Aure, dolce mio ben, se cangi pelo
Et loco tardi, et se ‘l signor di Delo
Gratia et valor nel tuo bel sen’asconde,
Ascolta I miei sospiri et da’ lor loco
Di volger in amor l’ingiusto sdegno,
Et vinca tua pietade il duro sempio.
Vedi qual m’arde et mi consuma fuoco;
Qual fie scusa miglior, qual magior segno
Ch’io son di viva fede et d’amor tempio!
Alas, where’s the fair face?
Alas, where’s the fair face? Here it is hiding.
Woe’s me, where is my sun? Alas, what veil
Slipped over it to make the heavens dark?
Woe’s me, I call and see it; it won’t answer.
Oh, if your sails e’er have auspicious breezes,
My sweet delight, and if you change your hair
And features late, and if the lord of Delos
Conceals in your fair bosom charms and valor,
Then listen to my sighs and give them place
To turn unwarranted disdain to love,
And may your pity overcome harsh torments.
See how I’m burned and melted by my fires;
What better sign or pretext could there be
Than I, a shrine of living faith and love!
Quando son più lontan
Quando son più lontan de’ bei vostri occhi
Che m’han fatto cangiar voglia et costume,
Cresce la fiamma et mi conduce a morte;
Et voi, che per mia sorte
Potresti raffrenar la dolce fiamma,
Mi negate la fiamma che m’infiamma.
When I am farthest away
When I am farthest from your lovely eyes
That made me change my wishes and my habits,
The flame augments and leads me to my death;
And you, who for my fate
Could put a curb upon the pleasant flame,
Deprive me of the flame where I’m inflamed.
Amor, io sento l’alma
Amor, io sento l’alma
Tornar nel foco ov’io
Fui lieto et più che mai d’arder desio.
Io ardo e ‘n chiara fiamma
Nutrisco il miser core;
Et quanto più s’infiamma,
Tanto più cresce amore,
Perch’ogni mio dolore
Nasce dal fuoco ov’io
Fui lieto et più che mai d’arder desio.
Oh Love, I feel my soul
Oh Love, I feel my soul
Renew the fire where I
Rejoiced and more than e’er I wish to burn.
I burn and in bright flames
I feed my wretched heart;
The more it catches fire,
The more my love increases,
For all my sorrows rise
From out the fire where I
Rejoiced and more than e’er I wish to burn.
Se per havervi, oime
Se per havervi, oime, donato il core,
Nasce in me quell’ardore,
Donna crudel, che m’arde in ogno loco,
Tal che son tutto foco,
E se per amar voi, l’aspro martire
Mi fa di duol morire,
Miser! Che far debb’io
Privo di voi che sete ogni ben mio?
If, alas
If alas, when I gave you my heart,
There was born in me that passion,
Cruel Lady, which burns me everywhere
So that I am all aflame,
And if, loving you, bitter torment
Makes me die of sorrow,
Wretched me! What shall I do
Without you who are my every joy?
Túrót ëszik a cigány Zoltán Kodály
Kodály traveled throughout his native Hungary collecting folk songs, and used elements of these
songs in his music. This setting combines a fast, rhythmic song with a slow, lyrical tune, both
punctuated by nonsense syllables. Our thanks to Elizabeth Loparits for her assistance in the
translation and Hungarian diction.
The gypsy eats cheese
And argues afterwards.
He tells me he’s going to punch my face
“Punch your grandpa,” I retort.
The pretty bush with red berries has flower buds
Which bend out to the road.
Little Johnny walked that way
And plucked off one flower.
Arboreal Ardor Em McKeever
Em McKeever is a sophomore composition major at UNCG, and a member of the Women’s Glee
Club. This work is a lush setting of her original poetry lamenting that the beautiful memories of
summer are blown away on the breath of autumn.
Confitemini Domini Alessandro Costantini
This motet by Costantini reflects several typical late Renaissance compositional elements: paired
voices, phrases which repeat and intensify lines of text, and a triple meter “Alleluia” section.
Praise the Lord for his great goodness.
Praise him, for his mercy endures forever. Alleluia
Dirait-on Morten Lauridsen
“Dirait-on” is the final movement of the choral cycle “Les Chansons des Roses,” composed on
texts of Rilke. It is set as a tuneful folksong that weaves together two melodic ideas.
Abandon surrounding abandon,
Tenderness touching tenderness...
Your oneness endlessly
Caresses itself, so they say;
Self-caressing
Through its own clear reflection.
Thus you invent the theme
Of Narcissus fulfilled.
Ain’-A That Good News! arr. William Dawson
William Dawson was the head of the choral program at the Tuskegee Institute in Alabama for
many years, and composed concert settings of spirituals and folksongs for the national and
international tours undertaken by his choirs. “Ain’-A That Good News!” is a joyful anticipation of a
better life in heaven.
And How My Brother is Cain Judith Shatin
“Songs of War and Peace” (1998), is a setting of four Israeli poems in translation by outstanding
American poets, on the ever-present topic of war and peace. According to composer Judith
Shatin, “these poems represent the sadness and shock of the post-Rabin environment, although
some sing of hope as well. The first poem is one of the devastation of Rabin’s assassination and
its aftermath.”
Those who walked to weep, those who walked to write
And I walked and walked and walked.
and under my feet words hummed,
And I walked over the dark over despair and over silence
and a demon walked through my heart,
and the gun, there was a shot,
and years collapse and collapse
and how my brother with blood on his hands,
and how my brother is Cain, is Cain
and I walked, walked, walked,
and there came a fire consuming the silence, silence
Those who walked to weep, who walked to weep.
Kyrie in D Johann Christian Bach
Johann Christian Bach, the youngest son of J.S. Bach, was only fifteen years old when his father
died. He became a composition student of Padre Giovanni Battista Martini and served for a time
as the organist in the Milan Cathedral. He left Italy for London in 1762, where he became an
opera and concert impresario as well as music master to the queen.
Lord, have mercy. Christ, have mercy. Lord, have mercy.
In Remembrance Jeffrey L. Ames
In this memorial work Ames juxtaposes a fragment of the Latin Requiem Mass with an English
text.
Lux aeterna, Luceat eis, Domine.
(May light eternal shine upon them, O Lord, in the company of thy saints forever; for thou art
merciful.)
Turn to me and be gracious, for my heart is in distress. Oh God, my God, why hast thou forsaken
me?
My tears linger at night, but joy comes in the morning.
Lord, in your infinite mercy, grant them rest forevermore.
My Soul’s Been Anchored in the Lord arr. Bruce Trinkley
Bruce Trinkley is conductor of the Men’s Glee Club at Pennsylvania State University.
In the Lord, in the Lord, my soul’s been anchored in the Lord.
Before I’d stay in hell one day, my soul’s been anchored in the Lord.
I’d sing an’ pray myself away, my soul’s been anchored in the Lord.
I’ll shout an’ pray and never stop, my soul’s been anchored in the Lord.
Until I reach the mountaintop, my soul’s been anchored in the Lord.
In the Lord, in the Lord, my soul’s been anchored in the Lord.
God knows my soul’s been anchored in the Lord!
Three Sacred Choruses Johannes Brahms
Written between the years 1859 and 1863, Regina Coeli is the third in a set of three pieces
originally entitled Drei geistliche Chöre. Brahms composes the melody of this work which
incorporates 18th century rhythms taken from dance, sung in duet style accented by choral
responses.
Queen of the heavens, rejoice! Alleluia
For He whom you were worthy to bear, Alleluia
Has risen as He said, Alleluia
Pray for us to God, Alleluia!
Ave Maria David MacIntyre
Ave Maria was one of several pieces commissioned in 1994 and written specifically for the
Elektra Women’s Choir. The eight-part texture is perpetual motion. Ave Maria does not employ
the use of a traditional text, but repeats Ave Maria as a mantra. Set in varying meter, MacIntyre
achieves the feeling of chant on a powerful scale. Carefully placed rests give the rhythmic
phrases a sense of urgency until the end.
Esto Les Digo Kinley Lange
Lange works frequently as a commissioned composer and has a wide range of compositional
style and experience. This a cappella Spanish setting of a scriptural text has been performed
widely across the US, Europe, and Canada. The end of the piece contains a soprano solo
floating above the choir.
This I say to you, if two of you agree here on earth to ask in prayer something of my Father in
heaven, it will be given to you. For when two or three are gathered in my name, there am I in the
midst of them.
Chindia Alexandru Paşcanu
Chindia is a dance tune belonging to a group of Romanian folk music, referring to the time and
place that the sun sets. Chindia is based on villagers from Muntenia, who return at sunset from
working in the fields, and gather together in the town square to dance, talk, and date. Nonsense
syllables with occasional solfege serve as the text. The final section of the piece is Presto! ,
representing a race to the end.
Psalm 150 arr. Michael Dougherty
Psalm 150 is a collection of three liturgical pieces for men's chorus. The first is the plainsong
setting of the Latin text of Psalm 150, the second an Anglican chant setting of the English text of
Psalm 150. The final piece in the collection is the fourth stanza from the hymn Adoro te devote
by Adam Gumpeltzheimer (c. 1500-1625). The words use the imagery of the pelican who pricks
here breast to feed her young.
Bring the tender tale true of the Pelican;
Bathe me, Jesu Lord, in what Thy bosom ran
Blood whereof a single drop has power to win
All the world forgiveness of its world of sin.
(Translation by Gerard Manley Hopkins)
Ride The Chariot arr. William Henry Smith
William Henry Smith's arrangement of Ride the Chariot is an exuberant statement of readiness for
the judgment day. Along the way, the soloist asks if you are ready too.
A’Roving arr. Robert Shaw and Alice Parker
Robert Shaw and Alice Parker had a long collaboration setting spirituals and folk songs for
chorus. A-Roving is an English Sea Shanty which tells of a man whose advances on women
seem to have brought trouble. "I'll go no more a-roving," he proclaims, "'cause roving's been my
ruin."
Ka Hia Manu arr. Stephen Hatfield
The composer Stephen Hatfield takes an interest in multicultural music. This piece is a setting of
phrases from various Polynesian languages. These phrases tell of the wonders of creation and
the pride and joy the people have in their homelands.
Chamber Singers
Welborn E. Young, conductor
assisted by Cory Alexander, Michael Dougherty, Jonathan Blalock,
Eric Poole, and Laura Moore
Soprano Alto Tenor Bass
Anne Albert
Rachel Bowman
Jessica Cates
Meredith Crenshaw
Trinity G. Martin
April Hill
Ginger Jones
Laura Moore
Amber Norris-Davies
Jane Smith
Jonathan Blalock
Ryan Deal
Chip Renn
Eric Poole
Cory Alexander
John Bennett
Michael Dougherty
Neal Sharpe
Tom Shelton
University Chorale
William P. Carroll, conductor
assisted by Bill Allred, Stephen Durr, Christina Elkins, Jerry Myers, Kelly Turner
Ben Brafford and Greg Stout, piano
Allred, Bill
Bailey, Allison
Beaudoin, Stephanie
Bolick, Mary Anne
Borowski, Winnona
Brotherton, Katie
Buzzard, Meg
Callaham, Jack
Carter, Lindell
Caudle, Emily
Cook, Tim
Cowan, Justin
Crotty, Cathy
Currier, Douglas
Daoust, Tim
Darab, Patrick
Darden, Jesse
Dawes, Hayden
Doss, Cord
Dunn, Kimberly
Durr, Stephen
Elkins, Christy
Fauske, Dena
Federle, Ted
Gantt, Gordon
Haggard, Logan
Hotchkiss, Sarah
Jerva, Amy
Jones, David
Jones, Jeffrey
Juengel, Chris
Kennedy, Brian
Kleinmann, Joan
Lindsay, Michael
Lloyd, Sara
Lowman, Andrea
Lordahl, Alyson
Lucier, Sean
Marsden, Gretchen
Marsh, Becky
Martin, Erin
McConville, Lindsay
Miller, Caroline
Montross, Geoff
Myers, Jerry
Oliver, Andrew
Owens, Donny
Poe, Jonathan
Rollings, Marshall
Sanders, Stephanie
Snipes, Jason
Snyder, Julia
Stout, Greg
Trail, Robert
Turner, Kelly
Wann, Alison
Withers, Kathryn
Men’s Glee Club
Michael Dougherty, conductor
assisted by Cory Alexander, Jonathan Blalock, and Kelly Turner
Alex Beard
Frank Beaty
David Blalock
Christopher Capen
Lindell Carter
Timothy Cook
Justin Cowan
Jeremy Crawley
Patrick Darab
Cord Doss
Jack Dougherty
James Easteppe
Matthew Eulitt
Justin Fuller
Ben Garcia
Logan Haggard
James Hauser
Joey Humbert
Judson Hurd
Paul Ijames
Jeffrey Jones
Wesley Jordan
Christopher Juengel
Brian Kennedy
Darrick King
Sean Lucier
Zach Miller
Samuel Newman
Luis Alberto Olayo
Timothy Rauscher
Lucas Ray
Marshall Rollings
Adam Rudisill
Neal Sharpe
Adam Thomas
Bob Trail
Mark Treiber
Andrew Waddel
Women’s Choir
Christina Elkins, conductor
Bob Trail, accompanist
Robin Allison
Cherith Andes
Juliet Band
Allison Barker
Emily Boone
Arloa Butler
Janessa Butz
Emily Caudle
Meghan Dunham
Melita Etienne
Laura Gaillard
Jessica Glime
Laura Hackett
Dora Hastings
Megan Latta
Alyson Lordahl
Andrea Lowman
Becky Marsh
Rachel Roberts
Caity Ryan
Meagan Sprang
Ellen Swanson
Salima Thomas
Liz Thomas
Alex Tibbitts
Brittany Tollerton
Amanda Troy
Maria Vaughn
Alison Wann
Beth Wilkerson
Lila Yasin
Women’s Glee Club
Laura Moore, conductor
Ella Elias, assistant conductor
Megan Yohman, accompanist
Aiken, Carmen
Atkins, Courtney
Badgett, Amanda
Bayless, Lauren Ali
Benson, Alexandria
Benson, Gini
Beutke, Cassandra
Blizzard, Sarah
Bondy, Natalie
Brigman, Jennifer
Budlong, Meredith
Burrus, Clara
Calloway, Ashley
Davis, Savannah
Dixon, Sidney
Fakhoury, Dima
Farrar, Kate
Giunta, Cassandra
Grubbs, Elizabeth
Hammie, Angela
Hewitt, Amy
Hinson, Sally
Hoffman, Meghan
Hoskins, Hansi
Ingle, Crystal
Kim, Hyo Jin
Knight, Nakita
Labell, Jessie
Lim, Ianthe
Lim, Miso
Lingenfelter, Christine
Marino, Ashtyn
Marsh, Amanda
Martino, Michele
McKeever, Em
Miller, Leigh
Moon, Amanda
Parrott, Megan
Pigg, Elizabeth
Ponzi, Gina
Poole, Natalie
Preston, Kristen
Purpura, Jennifer
Rossman, Natalie
Sambrick, Kelly
Stellway, Diana
Strong, Shannon
Thompson, Erica
Thurm, Stephanie
Toler, Brandy
Vaeth, Ashley
Weldon, Robin
Wicker, Whitney
Williams, Kathryn
Williams, Tiffany
Yohman, Megan
